सङ्गीतरत्नाकर: प्रथम भाग (शार्ङ्गदेव - स्वरगताध्याय सविस्तार व्याख्या व अनुवाद सहित)

230 Treatment of Svara
fourfold as it is concerned² with kākalī (niṣāda) antara
(gāndhāra), ṣaḍja and madhyama. (1-2b)
viz. kākalī-niṣāda, antara-gāndhāra, ṣaḍja and madhyama. Thus, sādhāraṇa
(overlapping) is fourfold as it is qualified by these four notes and is
respectively called kākalī-sādhāraṇa (the overlapping of kākalī), antara-
sādhāraṇa (the overlapping of antara), ṣaḍja-sādhāraṇa (the overlapping of
ṣaḍja) and madhyama-sādhāraṇa (the overlapping of madhyama).
(ii) काकल्यन्तरसाधारणम्
साधारणः काकली हि भवेत्षड्जनिषादयोः ॥२॥
साधारण्यमतस्तस्य यत्तत्साधारणं विदुः ।
अन्तरस्यापि गमयोरेवं साधारणं मतम् ॥३॥
(ii) The overlapping of kākalī and antara: 2c-3
Since the overlapping (sādhāraṇa)¹ kākalī occurs between
niṣāda and ṣaḍja, its³ overlap³ (sādhāraṇya) is known as over-
lapping (sādhāraṇa)⁴. The overlapping of antara is similarly
conceived between gāndhāra and madhyama (2c-3)
In the process, technically known as the overlapping of kākalī, two
notes are involved, and the author is here explaining how they are
affected in this process, which elsewhere has also been referred to as
the kakalisation of niṣāda, and also why it is so called.
In the ṣaḍja-grāma, niṣāda has two śruti-s (21st and 22nd) and
ṣaḍja has four (1st-4th). It has already been explained (I. 3.40 ante)
that in the kakalisation (kākalītva) of niṣāda, kākalī-niṣāda is formed by
the conjunction of niṣāda and ṣaḍja to the extent of two śruti-s of each,
i. e., 21st and 22nd śruti of niṣāda and the 1st and the 2nd śruti of ṣaḍja.
Thus, kākalī is of four śruti-s and is situated equidistant from both
niṣāda as well as ṣaḍja. It partakes of the characteristics of both since
it is constituted by two śruti-s contributed by each and is yet different
from each of them since its note-śruti is different (2nd or 24th).
2. Literally, "as it is qualified by kākalī, antara, ṣaḍja and madhyama".

1. Sādhāraṇaḥ qualifies kākalī.
2. That is, the overlapping in the formation of kākalī.
3. Sādhāraṇya is defined by ‘K’ as “sādhāraṇasya bhāvaḥ” i. e., the essence or the quality of overlapping. It implies the sense of “overlapping-ness”, though such a word is not in usage.
4. Sādhāraṇam stands for the abstract noun sādhāraṇyam.
   Section 5 : Overlapping (Sādhāraṇa) 231
   However, kākalī-sādhāraṇa affects the two notes niṣāda and ṣaḍja
   quite differently; whereas it absorbs the note-śruti of niṣāda, it does not
   affect the note-śruti of ṣaḍja and that is one reason why it is called
   kākalī-niṣāda i. e., because it affects niṣāda in categorically a different
   way in so far as it completely absorbs it.
   Antara-sādhāraṇa i. e., the overlapping of antara is similarly
   conceived between gāndhāra and madhyama, affecting these two notes
   in the same way in the terms explained above; and consequently takes
   the name “antara-gāndhāra” on the pattern of “kākalī-niṣāda”. Thus
   antara is constituted of the two śruti-s (8th and 9th) of gāndhāra and two
   śruti-s (10th and 11th) of madhyama, absorbing the note-śruti of the
   former and leaving the note-śruti of the latter un-affected.
   (iii) काकल्यन्तर-प्रयोगविधिः
   प्रयोज्यो षड्जमुच्चार्य काकलीधेवतौ क्रमात् ।
   एवं मध्यममुच्चार्य प्रयुञ्जीतान्तरर्षभौ ॥४॥
   षड्जकाकलिनौ यद्वोच्चार्य षड्जं पुनर्व्रजेत् ।
   तत्परान्यतमं चैवं मध्यमं चान्तरस्वरम् ॥५॥
   प्रयुज्य मध्यमो ग्राह्यस्तत्परान्यतमो ऽथ वा ।
   अल्पप्रयोगः सर्वत्र काकली चान्तरः स्वरः ॥६॥
   (iii) The application of kākalī and antara: 4-6
   After singing¹ ṣaḍja, kākalī followed² by dhaivata may
   be employed. Likewise after singing³ madhyama, antara
   and ṛṣabha may be used. Alternatively, having sung⁴ ṣaḍja
   and kākalī one may return to ṣaḍja and after that move on to
   any succeeding⁵ note. Similarly, after employing madhyama
   and antara, madhyama should be taken before resorting to any
   succeeding note. Everywhere⁶ the notes kākalī and antara
   are rarely used. (4-6)
   1, 3 & 4 Literally, ‘pronouncing’ or ‘articulating’.
5. Krama implies ‘due order’ which, in this case, is the descending one.
6. According to ‘K’ the succeeding note has to be the immediately succeeding one barring the one that has to be eliminated; but ‘S’ thinks that any succeeding note implies any one of ri, ga, ma, pa and dha in case of the overlapping of kākalī and pa, dha, ni, sa, and ri in case of the overlapping of antara i. e., all the notes subsequent to ṣaḍja and madhyama respectively.
7. ‘S’ interprets it as jāti-rāga-s, etc.